A lot has been said about Anna Moffo's early vocal decline and mismanaged carreer but let's not forget what a lovely singer she was in her prime. This recital from the early 1970's let us hear "late Moffo" though she was not yet 40. There is a slight hoarseness and unsteadiness in the voice that was not present in earlier recordings but it is still by any means a beautiful instrument used with skill. This recital also reminds us what a verstatile artist she was - she sings arias from the italian bel canto and verismo repertoire, french lyric and also german operettas and she passes from one to the other with considerable naturalness, ease and charm..
A majority of well-known composers have written at least a few chamber compositions in their entire lifetime. The most famous would have to be Mozart, Beethoven, Brahms, and probably Prokofiev. Some, including Respighi and Vaughan Williams, are overlooked or even rejected in today's society. Whether it's because of lack of originality or excessive complexities, these sorts of compositions are always left in the dark. Take Rachmaninov's Cello Sonata, for instance. This 35-minute work doesn't receive the complete recognition it deserves. It's overshadowed by the composer's piano concertos and symphonies, all of which are respectfully first-rate works in their own right.
… A critic once wrote: “Fleet- fingered pianists are a dime a dozen today – where are the musicians?” From the haunting opening measures of the Rachmaninoff Etude-Tableau Op.33 No.2, it’s clear that Sa Chen is a musician of the first-rank, one who combines a flawless technique with an innate musicality. She presents 6 Etudes in all, drawn from Opp.33 and 39, and throughout, her playing is marked by a delicacy of shading with never a moment of bravura for its own sake.
The Prague Philharmonic choir join over a dozen others who have recorded Rachmaninov’s All-Night Vigil, a work once thought the special property of the Russian choirs who are, of course, prominent in the lists. The Czechs sing it without a cantor, and more as a concert work than some of the others do. Though they take the famous scale in the Nunc dimittis, descending to a profound B flat, in their stride, they are not as sonorous as some others, and their particular contribution is to sing the music lightly and flexibly, with a lively response to the words. They have excellent sopranos, safe in intonation when attacking the exposed high entries in thirds which are a feature of the music, and a good tenor for the three numbers that involve him as a soloist. The Magnificat, with all its tempo changes and shifts of register, is expressively done, as are the light rhythms of ‘Blessed art Thou, O Lord’.
This is a wondrous disc. Yevgeny Sudbin has not been alone in championing the piano music of Nikolay Medtner: in recent times Marc-André Hamelin, Steven Osborne and Hamish Milne have all brought their special insights into a composer who can perhaps on occasion seem problematic and somehow remote. Sudbin, however, seems to have an exceptional affinity with Medtner’s language. He brings both his heart and his head into play when performing these pieces. His head tackles and illuminates textures and harmonies that might seem opaque and knotty on a first study of the scores; his heart is then harnessed to convey the extraordinary sensibility, passion and thoroughly individual cast of melody that courses through the music. As usual with Sudbin’s series of BIS discs, he also writes his own booklet-notes in a lucid way that testifies both to his enthusiasm and to his understanding.
The appeal of this release hinges more on its sound quality than on the quality of its well-known and excellent performances. Unfortunately, it doesn't sound very good. One can more or less hear Richter – details of articulation occasionally get lost, inner voices are sometimes obscured, and bigger sonorities are often opaque – but he sounds like he's miles away. One can hear Sanderling and the USSR Radio & Television Symphony Orchestra only faintly when they're quiet, somewhat better when they're louder, and all too well when they're really loud. There have been better releases of these recordings in the past – many listeners prefer the 1995 BMG-Melodiya issues – and there will likely be better releases in the future. This one's not worth it except for Richter specialists who have to have every release of every performance Richter ever recorded.